More works by Chen Wen Ling

Bronze Painted 48 x 19 x 24cm

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The Red Memory series is reminiscent of fiery sunlight and vibrancy of childhood. Caught up in a wave of ambition and mindless pursuit of life when he was living in Xi'An, Chen Wen Ling returned to his hometown of Anxi and created the series to recall the nostalgia and carefree spirit of childhood. The statue is naked and liberated, shrugging off the cares of the world with a wide smile.

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+Artist Bio

Chen Wen Ling was born in 1969 in China and is recognized as one of the top ten contemporary sculptors in the international art industry today. Since graduating from the Xiamen Academy of Art where he studied in the sculpture department followed by Central Academy of Fine Arts in Beijing, his exhibitions have been held in numerous prestigious exhibitions all around the world. In 1999, Chen Wen Ling received the Venice Biennial International Prize of the Golden Lion in Italy and In 2005, he received the award for best installation in the Museum for Inopportune in France. He has also held displays of his Red Memory series at ‘Sculptures by the Sea’ for consecutive years, which received high demand and acclaim. Read More

+Critique

Article: Red MemoryPeng De, ART&DESIGN,Volume118, 2003. Peng De is a recognized Chinese Art Critic and also a Professor at Xi An Academy of Art

Red is the colour in fashion - from the Red Devil Cheer Team in South Korea to the usual red uniforms of the European football teams and the various symbols in China. Throughout Chinese history, red has been a symbolic and auspicious colour. Chen wants to express the tension of money, power, anxiety, fear and cruelty in the adult world. In this Red Boys series, he expresses the dreams, remembrance and nostalgia of our innocent childhood and questions the culture of adults.

The Red Boys are innocent and pure, healthy and full of vitality. It is well known that the visual arts of the late twentieth century, whether in art, cinema or three-dimensional cartoon pictures of computer games are full of violence, self doubt and pity. Chen's Red Boys resemble lotuses growing out of the mud, satisfying the craving for a new trend of avant garde art - where exploration of our human nature provides hope rather than to act as a weapon of criticism. His works attract locals,international audiences, academics and avant-garde critic alike to appreciate them from their own perspectives.

Chen's series of the Red Boys, entitled Red Memory, has various meanings and nuances for modern art viewers. They may be reminded of a newborn baby which symbolizes the innocence of human heart in classical culture, without any feelings of ordinariness. They may relate to the works of the Red Boy in one of the great Chinese novels: 'The Journey to the West (Xi You Ji), but without the feeling of an evil spirit looming over them.

They may be reminded of the Red Guards during the Cultural Revolution, without a feeling of cruelty. They may be reminded of war fires of the past in strategically important China, without any feelings of fear. Those who know Chen may link the Red Boys to a harrowing experience - in 1996, there was an astonishing report on the newspaper of Xiamen daily, entitled "Rare and Courageous Self Defense". It was reported that a couple was robbed at the beach. The man courageously defended himself and the woman and was stabbed dozens of times in the process. Two main arteries of his wrists were cut open. His body was soaked with blood. It was the bloodiest case in local criminal history. The article described the heroic action of the young man who survived the attack in detail. He was no other than Mr Chen Wenling. Despite this, Chen shows no traces of hatred in his Red Memory series.

Modern art emphasizes the concept of a piece and often creates a style of too many concepts at play. In contrast, Chen's works are simple and true. He does not deliberately create concepts. The naked bodies have nothing to hide. What is left is a direct communication with nature and a conversation between society and the people. The facial expressions and gestures of the Red Boys are properly exaggerated to enhance communicative effects. This series of works provides respite from the notion of there being too many concepts.